It's kinda like TLW in that it's a radical departure from the various sounds of the last three films. (Horner certainly sounds different from Goldsmith/Steiner/Courage, but in terms of style, they're much closer to each other than either is to Rosenman's contribution.) The difference is...TLW really grew on me and became one of my favorite scores, while this score still doesn't do much for me. In fact, it gets on my nerves a bit. My initial reaction the first time I saw the film was a simple gut feeling of, "This doesn't sound like Star Trek." Especially not a Trek film, as that sound tends to be a lot less campy than the (still wonderful) scores of TOS. The main theme especially is just so...annoyingly jaunty and cheerful. I don't even know how to describe the images and emotions it conjures up, but they're definitely nothing like any Trek film I've ever seen.
Sooooo...in summary, nothing objectively "wrong" with the score that I can see, but it just really rubs me the wrong way. Which is unfortunate, because the film is otherwise probably tied with TWOK for my favorite Trek film.

A few relevant quotes from you and others:
I admit, I'm perhaps a little sensitized to it because there've been other conversations that have gone that way over the years, too. But still, the message here is that I (and others like me) am wrong to want what I want. My only response to that can be...okay, sorry? Imma do me.
And again...to be clear...I'm guessing this Potter set is assembled to cater both to folks who want a pleasant listen right out of the box (like you) and to folks who want to be able to customize the assembly if we want (like me), so no complaints here.

The questions of chronology and completeness are pretty interesting to me. My preference is to have all the material recorded (one take or mixture of takes per cue, including any alternates that were recorded). I'm fine with cues that are overlapped/segued as the composer intended for the film, and I'm fine with cues presented out of order as long as they don't overlap noticeably. Don't get me wrong, in a perfect world, I'd love to have everything cleanly separated - not because that's the version I would listen to most often, but because that gives me more flexibility in terms of how I want to listen to the score. I do like to hear clean openings/endings simply because I find them interesting, and then it's easy enough for me to put cues together if I want them that way. But again, hey, as long as nothing is overlapped in ways that go against the intentions for the film, I'm pretty happy. And that certainly seems to be the approach that's happening these days with these releases. Hopefully it has continued with the Potter set.
And for those who say the only valid way to enjoy music is in an assembly that's different from the film...okay, cool, that's awesome that you prefer to listen to it that way, but I'm still gonna enjoy what I enjoy, just like you're going to enjoy what you're going to enjoy. Sorry if that's a problem for you.

Both versions of Train to Hogwarts were recorded; one was heard in the film, and the other was heard somewhere in the DVDs - a menu or special feature or something. Can't remember. But regardless, it'll be wonderful to have both of them clean...both versions are truly chilling, in the best way. It's a rare case where I can't pick which version of the cue I prefer!

The Lion King is a big one for me. Lots of childhood memories.
Total nerd alert, but I got all misty-eyed in the final scene of DH2, as well. Knowing that this particular journey was coming to an end - coupled with the obvious but insanely effective reprise of Leaving Hogwarts - was enough to get me all choked up, and that doesn't happen easily for me.
I've never cried while watching Titanic, but I do always finish the film with a certain sense of melancholic reflectiveness. The score, the lost love, the morning fascination of the all-too-real images of the ship's final somber resting place...yep, that'll do it.

In my particular situation, I'd never owned the score - I just knew I loved the thematic material. I'd been waiting for an expanded release in order to add this score to my collection, and then out of the blue, boom, there it was. Jaws, ET, and CE3K are certainly more iconic scores, but none of their releases were first-time listens for me, so they automatically weren't as exciting as they would have been. Not a bad thing...I'm SUPER happy that we've gotten all these expansions in recent years, and I haven't regretted a single purchase.